360 Degree Rotatable Easel

Abstract

An improved affordable easel that provides a 360 degree rotational feature employing a rotating arm (20) pivotally mounted to a rear plate (30) with a bolt (46), and sandwiching a spacer (28) as a means to provide a sliding mechanism for these parts to slidably rotate. Multiple embodiments of this rotational assembly are here stated: a stationary version, a detachable embodiment employing clamping bars to modify existing easels and turn them into rotating easels, and a clamp-on camera tripod version utilizing a rear adapter (72) to clamp onto existing camera tripods, enabling the tripod to serve a dual purpose.

Description

BACKGROUND

1. Field

This application relates to easels, specifically artist easels and display easels.

2. Prior Art

Most every visual artist and presenter requires an easel to display and secure their articles. Many easel designs have been devised to facilitate the needs of the user for functionality, and ease of use.

Originally, the simple standard easel employed three legs, was attached at the top, and offered a bar across the front to rest the article on. Other easels used horizontal rests that slide on a single vertical bar to adjust the height. Some easels even offered rotational capabilities. However, a simple and inexpensive easel that grips the article securely and rotates the article 360 degrees in either direction has been elusive.

Recently, the creation of art has increasingly focused more on the artist, their insights, forms of expression, their understanding, and an effective use of media—so less distraction for the artist makes for a more pleasurable painting experience. This ease of use is also true of presenters that use an easel, and who would like or need to rotate their presentation for whatever reason, and would also prefer an uninterrupted flow in their presentation and free from distractions. The presenter and artist now prefer to focus on the subject at hand, rather than on the object.

The challenge I faced was to create an easel that most every artist or presenter could afford, is durable, versatile, offered few moving parts, is easy to maintain and use, easy to manufacture, and offered this rotational feature. Prior art offered some of these qualities, but not all. Simplifying the rotational device and the sliding bar clamps was the focus of my efforts, along with allowing this rotational capability to be easily applied to existing easels and camera tripods as an economical alternative.

I found much prior art in easels, however all have fallen short in being able to deliver all the qualities I've just mentioned. US patent—“Easel” U.S. Pat. No. 3,926,398 A to Melvin C. Vincent (1975) claims a rotational feature, but does not explicitly claim 360 degrees of rotation in either direction. The rotating mechanism is different from my embodiment, and so are the clamping features. U.S. patent—“Rotatable Easel” U.S. Pat. No. 6,712,328 B1 to Richard Joseph Morton (2004) also claims a rotational feature of “at least” 90 degrees, but not explicitly 360 degrees. Again the apparatus to rotate the canvas is different, and so is the securing mechanism. US patent “Easel, especially for canvas frames (stretchers), for use in painting” U.S. Pat. No. 6,390,433 B1 to Vladimir Kasa-Djukic (2002) claims 360 degrees of rotation but also by a different means than my embodiment, and also employs a different clamping mechanism than my embodiment. US patent “Paint easel and display rack assembly” U.S. Pat. No. 6,698,705 B2 (2004) to Toghanian Jahanbakhsh claims adjustable angles and rotational qualities but not specifically 360 degrees. This embodiment is again different from my embodiment in the angles of rotation, the method for changing the angle of the composition, and the securing mechanism. US patent “Multi-position presentation easel” U.S. Pat. No. 6,889,952 B2 (2005) to Ronald D. Cook & Pamela J. Emken claims rotational features. Again the apparatus to rotate the canvas is different, and so is the securing mechanism. U.S. Pat. No. 4,109,892 “Adjustable easel” (1977) to John P. Hartung claims 360 degree rotation and a tilting feature. Here again, the rotating mechanism is different from my embodiment, and so are the clamping and tilting features. US patent “Adjustable easel for supporting a work piece” (2008) to Harold H. Schiff claims rotational and tilting features and is on the market as the “Windmill Easel”. However, this embodiment has a different rotating mechanism than my embodiment, and also has a dissimilar clamping mechanism. The “Windmill Easel” and my device are dissimilar in design and engineering, with the “Windmill Easel” being much more complicated, costlier to manufacture and market, and thus reflects in a price of ten times more to the consumer. Considering that most artists have a small budget to work with, the “Windmill Easel,” is then more of a luxury item than an economical way of providing these tilting and rotational features to mainstream artists.

None of the prior art that I could find solved all the technical rotational and practical problems of cost and versatility—that my embodiments have resolved.

SUMMARY

The main embodiment here is the rotational mechanism which consists of a rotating arm pivotably connected by a bolt, spacer, and a rear plate providing 360 degrees of rotation for a canvas, work piece, or other item.

The advantages of these three embodiments are that the rotational device is simple, easy, and cheap to manufacture—with readily available parts. These embodiments are versatile in scope, offering the owner the capacity to transform existing easels into a rotatable easel—cheaply and effectively. The advantage of a rotating easel is that this added capacity now allows for painting in otherwise awkward angles, the ability to easily rotate the canvas to check the composition—all the while without interruption and the dirtying of the hands, or the composition. The simplicity and reduced cost enables virtually any artist or presenter to afford this easel.

DRAWINGS—FIGURES—BRIEF DESCRIPTION

FIGS. 1A to 1D illustrate the stationary model embodiment from a front and side view with the one and two arm options.

FIGS. 2A to 2D illustrate the basic easel stand used for the stationary and detachable embodiments.

FIGS. 3A to 3G illustrate the detachable model embodiment including the rotational arm assembly in one and two arm models.

FIGS. 4A to 4D illustrate the clamp-on embodiment in the one and two arms models.

FIGS. 5A to 5K illustrate the rotational arm and sliding bar clamp assemblies.

FIG. 6 illustrates a canvas mounted on a stationary embodiment.

FIG. 7A-B illustrates the conversion of an existing easel with a center arm (as an example) with the detachable embodiment.

FIG. 8 illustrates the use of a clamp-on embodiment with an existing camera tripod.

DRAWINGS—Reference Numerals
20—Rotational Arm
22—Sliding Bar Clamp Assembly
23—Circular Brace Plate (large)
24—Circular Front Brace Plate (small)
26—Circular Rear Brace Plate (small)
28—Felt Pads
30—Backing Plate
32—Screw
34—Carriage Bolt
36—PVC40 Cap Slip
38—Flat Washer (large)
39—Flat Washer (small)
40—Wing Nut (large)
41—Wing Nut (small)
42—PVC40 Pipe Side Leg
44—PVC40 Pipe Center Leg
46—Hex Bolt (large)
47—Hex Bolt (small)
48—Insert Nut (large)
49—Insert Nut (small)
50—Thumb Screw
52—Bent Flat Bar L-Grip
54—Vinyl Cap
56—Nylon Lock Nut
58—Lock Nut Washer (large)
59—Lock Nut Washer (small)
60—Front Clamping Bar
62—Rear Clamping Bar
64—Nails
66—Glue
68—Wing Screw
70—Female Tripod Mount
72—Male Tripod Adapter
74—Drill Hole
76—Bored Out Hole
78—Rear Bar Clamp Guide & Brace
80—Front Facing Bar
82—Center Arm
84—Rest Bar

PARTS LIST—DETAILED DESCRIPTION

• 20—Rotational Arm—used as the main point to secure and rotate the work piece.
• 22—Sliding Bar Clamp Assembly—used to secure the work piece on the rotational arm (20) and easel stand.
• 23—Circular Brace Plate (large)—large plate used in the stationary two arm model to secure the arms.
• 24—Circular Front Brace Plate (small)—used in the detachable and clamp on models and secured to the rotational arms (20) and felt pads (28).
• 26—Circular Rear Brace Plate (small)—used in the detachable and clamp on models to provide a backing for the felt pads (28) to slide on and attach to the rear clamping bar (62), or the male tripod adapter(72).
• 28—Felt Pads—used as a cushion to help allow the slide-ability and frictional function of the rotational arm (20).
• 30—Backing Plate—used to keep the easel stand together straight and act as a support for the rotational arm (20) to slide on.
• 32—Screw—used to secure the backing plate (30) to the easel side legs (42).
• 34—Carriage Bolt—used at the top of the legs (42,44) to secure and hold the legs together.
• 36—PVC40 Cap Slip—used cosmetically to top the center leg (44).
• 38—Flat Washer (large)—used as a spacer for the nuts to slide on.
• 39—Flat Washer (small)—used as a spacer for the nuts to slide on.
• 40—Wing Nut (large)—for the detachable model to tighten the center hex bolt (46).
• 41—Wing Nut (small)—for the detachable model to tighten the side hex bolts (47) and the carriage bolt (34) with the legs (42, 44).
• 42—PVC40 Pipe Side Leg—used for side legs of the easel stand.
• 44—PVC40 Pipe Center Leg—used for the center leg of the easel stand.
• 46—Hex Bolt (large)—used to pivotally attach the rotational arm (20) to the easel, and is the main pivotal device.
• 47—Hex Bolt (small)—for the detachable model to hold the front (60) and rear clamping bars (62) together.
• 48—Insert Nut (large)—used in the sliding bar assembly (22) to allow the thumb screw(50) to tighten the said sliding bar to the rotational arm (20).
• 49—Insert Nut (small) —used in the sliding bar assembly (22) to allow the wing screw (68) to tighten the L-grips (52) onto the said bar (22).
• 50—Thumb Screw—passes through the insert nut (48), and used to tighten the sliding bar assembly (22) to the rotational arm (20).
• 52—Bent Flat Bar L-Grip—optional equipment used to pull and secure a canvas stretcher from behind, and/or to provide additional article support.
• 54—Vinyl Cap—used on the easel legs to provide a gripping function so the easel doesn't slip on the mounted surface.
• 56—Nylon Lock Nut—used in the stationary and clamp-on models to secure the rotational arm and prevent slippage. Could also be used in the detachable model for a more secure grip, but requires a wrench and more time to tighten and loosen.
• 58—Lock Nut Washer (large)—for the detachable model to hold the rotational arm tightly to the clamping bars (60, 62) and adjust the tension. This can be replaced with the nylon lock nut (56) if desired.
• 59—Lock Nut Washer (small)—for the detachable model to hold the clamping bars (60, 62) tightly together sandwiching the side legs or center arm.
• 60—Front Clamping Bar—used to sandwich the front of the easel legs (42) to the rear clamping bar (62).
• 62—Rear Clamping Bar—used to sandwich the back of the easel legs (42) to the front clamping bar (60).
• 64—Nails—used to secure the plates (23, 24, 26) to the bars(60, 62), rotational arm (20), and male tripod adaptor (72).
• 66—Glue—also used to secure the plates (23, 24, 26) to the bar (60, 62) and rotational arm (20), and male tripod adaptor (72).
• 68—Wing Screw—used to secure the L-grips to the rear of the front facing bar (80) of the sliding bar assembly (22) through the small insert nut (49).
• 70—Female Tripod Mount—mount found on the camera tripod.
• 72—Male Tripod Adapter —adapter built to clamp into the camera tripod female mount.
• 74—Drill Hole—used for bolts to pass through.
• 76—Bored Out Hole—used to recess the heads of the hex bolts (46, 47).
• 78—Rear Bar Clamp Guide & Brace—part of the sliding bar assembly glued on to the front facing bar (80). Cut at an angle complementary to the rotating arm and about ⅜″ in height more than the front bar (80) to provide a lip to better brace the canvas, and together with the face bar (80) allows for the slide-ability up and down the rotational bar (20).
• 80—Front Facing Bar—front part of the sliding bar assembly (22) which incorporates the insert nuts (48, 49).
• 82—Center Bar—alternative easel brace to be adapted for the detachable embodiment.
• 84—Rest Bar—rest bar for work piece to rest on and stabilize the easel.

NECESSARY BUILDING TOOLS

1.  Hammer
2.  Screwdriver
3.  Staple gun
4.  4. Drill
5.  Table Saw
6.  Scroll saw
7.  Orbital sander
8.  Disk Sander
9.  Sabre saw
10. Drill bits

FIGS. 1A-1D—First Embodiment

The first embodiment is a stationary easel as illustrated in FIGS. 1A and 1B (front view), and FIGS. 1C and 1D (side view). This stationary embodiment may employ just one rotational arm (20) as in FIG. 1A, or enlist two rotational arms (20, 20) as in FIG. 1B. Both the one arm (FIG. 1A,1C) and two arm (FIG. 1B,1D) versions use a large hex bolt (46) pivotally mounted 90 degrees into a bored (76) and drilled out hole (74) in the rotational arms (20), passing through the backing plate (30), and secured in the back with a flat washer (38) and a nylon lock nut (56). The backing plate in both versions is attached to the standard easel (FIG. 2A-2D) by four screws (32) (FIGS. 1A & 1B). The two arm model employs a large circular brace plate (23) to attach to the two rotational arms (20, 20). Felt pads (28) are attached with self adhesive directly to the rear of the rotational arm (20) as in FIGS. 1A & 1C, or, to the back of the large circular front brace plate (23) as shown in FIGS. 1B & 1D. The rotational arms (20, 20) in FIGS. 1B & 1D are attached to the circular front brace plate (24) with brad nails (64) and glue (66).

Sliding bar clamps (22) are slidably mounted onto the rotational arms (20) and secured by a thumb screw (50) screwed into and through an insert nut (48) to grip onto the rotational arm (20). All these embodiments may enlist the use of optional bent flat bar L-grips (52) attached onto the back side of the sliding bar clamps (22) with an insert nut (49) and secured with a wing screw (68). Details of the sliding bar clamps can be found in FIGS. 5A—5K.

Operation—FIGS. 1A-1D—First Embodiment

Both embodiments of the stationary version lock the artist's canvas or other article into place with the sliding bar clamps (22). The canvas or other article can then be rotated 360 degrees in either direction by pushing on the rotational assembly which consists of the rotational arm (20), felt pads (28), hex bolt (46), flat washer (38), and nylon lock nut (56). The two arm version (FIGS. 1B & 1D) also employs a circular brace plate (23) to attach two arms (20) together to themselves (see FIG. 5J). The two arm version allows for a more sturdy backing for the article being rotated, and helps prevent the work piece from slipping out when rotated by being braced on all four edges. The tension and stiffness of the rotating arm (20) when spinning the article can be adjusted by the tightness of the large hex bolt (46) into the nylon lock nut (56) which sandwiches and compresses the felt pads to slide on the backing plate (30) and provide friction.

The canvas or article is secured by first securing one of the sliding bar clamps (22) onto the rotational arm(s) (20) by tightening the thumb screw (50) into the said arm. The canvas, or article then rests on the said bar clamp (22) and is secured by firmly pushing down with the second bar clamp (22) onto the article so the article is secured, and the second clamp is secured in the same manner as the first. This locks the canvas or article into place.

The two arm embodiment uses four clamps instead of two to similarly secure the work piece. Using the L-grips (52) to grab onto the back of the canvas stretcher, the sliding bar (22) is slid outward instead and tightened to secure the canvas. The L-grips (52) are optional equipment which allow for a canvas on a stretcher to be held onto from the reverse side and is secured by pulling up with the sliding bar clamps (22) instead of clamping down. All four sides of the canvas can then be exposed for painting. In addition, the L-grips (52) can be turned around (FIG. 5F) and then be used as a brace for the canvas, article, or work piece. The operator of the easel can now rotate the secured canvas in either direction 360 degrees by pushing on the edge of the canvas, the sliding bar clamp (22), or the rotational arm (20).

Additional Embodiment FIGS. 2A-2D—Easel Stand

The stationary and detachable embodiments shown here use the standard easel stand found in FIGS. 2A-2D. The side legs (42) and the center leg (44) are here made of 1″ PVC 40 pipe. The legs (42, 44) could be made out of any sturdy material such as wood, metal, plastic, etc. . . . . Vinyl caps (54) in FIG. 2C are placed on the bottom of the legs. The tops of the two side legs (42) are cut at an angle with a hole drilled through (FIGS. 2A, 2B). The center leg (44) has a PVC40 Cap Slip (36) placed on the top with a hole drilled through both the said cap and center leg. FIGS. 2A & 2B illustrate that a carriage bolt (34) is then pushed through the holes of the side and center legs (42, 44) and secured at the other end by a small regular flat washer (39) and a wing nut (41).

In the stationary models (FIGS. 1A-1D), the backing plate (30) is attached to the easel stand with four screws (32). In the detachable embodiment (FIGS. 3A-3G), the backing plate (30) is not necessary as the front and rear clamping bars (60, 62) clamp onto the side legs (42) of the easel. However, a rest (84) should be attached to the side legs (42) as shown in FIG. 2D to stabilize the easel stand. The easel stand (2D) can then double as a standalone display easel.

Operation —FIGS. 2A-2D—Easel Stand

The center leg (44) with the cap slip (36) and side legs (42) shown in FIGS. 2A & 2B, are held together at the top with a carriage bolt (34), flat washer (39), and a wing nut (41) through the drilled out holes. The tension applied by the wing nut (41) determines how easily the center leg will slide between the two side legs (42). The vinyl caps shown in FIG. 2C are used so the easel will not easily slide on the surface onto which the easel stand rests.

Alternative Embodiments—FIGS. 3A-3G—Detachable Embodiment

The second embodiment is a detachable easel (FIGS. 3A-3G). This embodiment comprises one or two arms (20), circular front brace plate (24), rear circular brace plate (26), felt pads (28), hex bolts (46, 47), front clamping bar (60), rear clamping bar (62), and fastening hardware of flat washers (38, 39), lock nuts (58), and wing nuts (50, 51) as illustrated in FIG. 3C. This easel also can be made in a one or two rotational arm (20) version (FIGS. 3A & 3B). The center hex nut (46) found in FIGS. 3A-3D enters and rests securely in a bored (76) and drilled out hole (74) perpendicular through the center of the rotational arm (20), said brace plates (24, 26), clamp bars (60,62) and attached to a flat washers (38), lock nut washer (58) and wing nut (40). Two smaller hex bolts (47) rest securely into and through two bored (76) and drilled out (74) holes in the front of the front clamping bar (60). The front clamping bar (60) and the rear clamping bar (62) sandwich the side easel legs (42) and are tightened to the side legs by the use of flat washers (39), lock nut washers (59), and wing nuts (41). The larger hex bolt and hardware (40, 46, 38, and 58,) found in the center assembly (FIG. 3C) provide the rotational feature of the easel. The smaller hex bolts and hardware (41, 47, 39, and 59) are used to secure the rotational arm (20) onto the legs (42) of the said easel stand (or other easel). The felt pads (28) are sandwiched between the front brace plate (24) and the rear brace plate (26) with the adhesive side of the felt pads attaching onto the back of the said front brace plate (24) to provide slide ability and friction.

FIGS. 3C-3E illustrates how the small front circular brace plate (24) is attached to the rotational arm (20) by nails (64) and glue (66) in the one arm model. In the two arm model, the front brace plate is also attached by nails (64) and glue (66) as illustrated in FIGS. 3C, 3D, and 3F. The difference in this detachable embodiment over the stationary model is that a front and back circular brace (24, 26) plate is necessary in the one or two arm version since there is no backing plate (30). The circular rear brace plate (26) in the detachable embodiment replaces the said backing plate (30) of the stationary embodiment.

Operation—FIGS. 3A—3G—Detachable Embodiment

This detachable embodiment uses virtually the same basic rotational strategy and hardware as the original stationary model, rotates in the same manner, and can be manufactured using a one or two rotational arm (20) version with the sliding bar clamps (22) slidably attached in an identical fashion as the stationary embodiment. The L-grips (52) on the sliding bars (22) are also optional equipment here.

The front and rear clamping bars (60, 62) clamp on to the side easel legs (42) and are tightened by the small hex bolts (47) and wing nuts (41), and are securely tightened by pressure through the use of small lock nut washers (59). What makes this embodiment unique is that it will work with the said easel stand in FIG. 2A-2D, but also can be used with similar existing A-shaped easels to convert them into rotating easels. Easels with a center brace bar (FIGS. 7A & 7B) can also be modified by drilling a hole large enough for the center hex bolt to pass through, use the center bar of the easel to function as, and replace the rear clamping bar (62), then secure the rotational arm assembly (20, 28, 24, 26, 60) with a flat washer (38) and nylon lock nut (56), and/or a lock nut washer (58) with a wing nut (40) to the back of the center arm brace. Or, drill additional holes vertically, and use the hardware shown in FIGS. 3A-3E. If necessary, the rear clamping bar (62) can also be used.

Alternative Embodiment—FIGS. 4A-4D—Clamp-on Camera Tripod Embodiment

FIGS. 4A-4D illustrates a detachable camera tripod mounted easel embodiment that is almost identical in design as the detachable model, except that instead of using clamping bars to attach onto a stationary easel stand, this embodiment has a male tripod adapter (72) attached onto the back of the circular rear brace plate (26) attached with nails (64) and glue (66). The adapters can come from the camera tripod maker, or be readily manufactured in any usable material to fit various tripod types that use a pop-out mount. FIG. 4C illustrates how the hex bolt (46) enters in reverse here through a bored and drilled out hole (74, 76) in the said adapter (72) and through the brace plates (24, 26) and rotational arm (20), and is secured by the nylon lock nut (56) seated in the recessed bored and drilled out hole (76, 74) on the front of the rotational arm (20). FIG. 4D is a rear view of the male adapter. The female tripod mount (70) is found on the camera tripod, and is mated by the male adapter (72) on the clamp-on easel.

Operation—FIGS. 4A-4D—Clamp-on Tripod Embodiment

Operationally, this clamp-on tripod embodiment operates the same as the other two embodiments in terms of securing a canvas or article, and rotating it in either direction a full 360 degrees. This embodiment uses a clamp-on male tripod adapter (72) to interface with already existing camera tripods—turning them into an easel with rotational, tilting, and height adjusting capabilities. Better made tripods not only allow height adjustments also but allow the camera mount to swivel, thus allowing the operator to rotate a canvas around the axis in a near vertical position, and also horizontally. The operator just secures the male adapter (70) into the female tripod mount (72) as one would do with a mounted camera, and you then adjust the tripod and the rotational easel to the desired height and angle. This embodiment just clamps in and out of the tripod for, use and transport. This makes for convenience, versatility, and economy of use.

Additional Embodiments—FIGS. 5A-5K—Bar Clamps and L-Grips

FIGS. 5A-5K illustrates in more detail how the sliding bar clamp (22) is made and operates. 5A is a side view of the rotational arm (20) with the sliding bar clamps (22) slidably attached. FIG. 5B shows a detailed top view of the sliding bar clamp (22) mounted on the rotational arm (20). The sliding bar clamp (22) is comprised of two pieces (FIG. 5C)—the front facing bar (80) and the rear bar clamp guide and braces (78) are glued together with the said brace (78) having a lip overhanging the said facing bar (80) to give more support to the canvas or work piece. This is especially useful in the embodiments that use only one rotational arm (20) for support.

FIGS. 5D-5F & 5H illustrate the positioning of the bent flat bar L-grips (52) on the back side of the sliding bar clamp (22). A wing screw (68) secures the said L-grips (52) in place through a small insert nut (49) screwed into the back side of a front facing bar (80). FIG. 5H illustrates that the L-grip (52) can be attached in either direction depending on the item being rotated, whether being used to pull on a canvas stretcher, or acting in reverse as a brace. The rotational arm (20) is cut approximately at a 60 degree angle with the rear bar clamp guide and brace (78) complementing this angle so the said sliding bar can slide over and hug the rotational bar (20).

FIG. 5J shows a side view of how a two arm rotational arm embodiment is mated together with a complementary angle to the rotational bar (20) and perpendicular to each other, and nailed and glued to the circular front brace plate (24). FIG. 5K shows the one arm embodiment being glued and nailed to the circular brace plate (24).

Operation—FIGS. 5A-5K—Bar Clamps and L-Grips

FIG. 5B illustrates that complementary angles in the sliding bar clamp (22) and rotational arm (20) allow the said bar clamp (22) to glide over the said arm and secure the canvas onto the easel. The bar clamp (22) is secured onto the arm (20) by tightening the thumb screws (50) through the front insert nut (48) and into the rotational arm (20) so that the bar clamp fits snugly over the arm. The article being rotated is sandwiched between the two (or four) sliding bar clamps (22) and rests on the rotational arms (20), and the lip of the rear bar clamp guide and brace (78) and/or reversed L-grips (52). A bar clamp (22) with a lip is optional when combined with the L-grips (52) as the reversed L-grip also provides a bracing. The snugness of the bar clamps (22) on the article is determined by the downward pressure on the bar clamp to the article being secured, and not by tightening the thumb screws (50).

The embodiment with the optional L-grips (52) grabs the canvas stretcher from behind, and pulling determines how snug the canvas is held. Again, tightening the thumb screws (50) in the bar clamp (22) only keeps the said clamps from sliding on the said arm (20) and keeps the article from sliding out of place. FIG. 5F illustrates that the L-grip (52) can be secured with a wing screw (68) into the insert nut (49), with the L-grip pointing in either direction.

Construction of Embodiments

The building of this rotational easel is quite simple since it has few moving parts, all of which can be found at a local home improvement store, and using a few common tools.

Only the stationary embodiment solely uses the easel stand found in FIG. 2A-D while the detachable model may use this easel stand, or attach onto another compatible easel.

The building of the easel stand requires three pieces of 1″ PVC40 pipe cut to around 32″. Two of these pieces need to be cut on a long angle on one end to become the side legs (42) (FIG. 2A). Holes should be drilled about ½″ from the top of the angled ends using a ½″ drill bit. Next, cap (36) the center leg (44) and drill a ¼″ hole through both sides about 1″ from the top. Then attach the pieces as shown in FIG. 2A using a carriage bolt (34), a small washer (39), and a small wing nut (41). Lastly, attach the three vinyl caps (54) to the bottom of the legs (42, 44) with glue (66).

The stationary embodiment in FIGS. 1A & 1B can be made with one or two rotational arms (20). Both models rely on a backing plate (30), and the two arm version requires a circular brace plate (23) to support the two arms.

A trapezoid shaped backing plate (30) from ⅜″ plywood needs to be cut to fit onto the side legs (42) as shown in FIG. 1A and is attached with screws (32) into the side legs (42). A ⅜″ hole needs to be drilled through the center of the trapezoid shaped plywood for the hex bolt (46) to pass.

Next, cut a piece of 1″×2″ hardwood about 24″ long for the rotational arm (20). Bevel the two long edges with about a 60 degree angle on each side. Then cut your rear bar clamp guide and brace (78) pieces using the same complementary angle as shown in FIG. 5B-5G. Cut the front facing bars (80) about 8″ to 10″ in length to make the sliding bar clamp assembly (22).

Bore a hole half way through the center of the rotational arm (20) large enough for the head of the hex bolt to snugly fit into the recess. Then drill a ⅜″ hole through the center of the bored out center hole for the hex bolt (46) to pass through.

Glue and clamp the rear bar guide (78) on the facing bar (80) and position it so (FIG. 5B) on the rotational arm (20) to ensure it will slide easily. After dried, drill another hole through the center of the facing bar (80) for the insert nut (48), and screw this into the facing bar (80). Secure the thumb screw (50) into the bar clamp assembly (22).

For the one arm model attach common felt pads (28) normally used for furniture legs on the back side of the arm (20). Next, place the ⅜″ hex bolt (46) through the front of the arm (20) and through the hole (see FIG. 1C) in the backing plate (30) and attach on the back side of said plate with a large regular flat washer (38) and tighten to the desired tension with the nylon lock nut (56).

For the two arm stationary embodiment, cut a large circular plate (23) to the approximate relative size shown in FIG. 1B and drill a ⅜″ hole in the center. Now attach the arms (20) to the plate (23) perpendicular to each other as shown in FIG. 1B, 1D and 5J with nails (64) and glue (66). Two arms (20) need to be cut at complementary angles to the one bar (20) and butted and glued (66) together. Fix the hardware through the rotational arm (20) now attached to the circular plate (23) and onto the easel stand as was done with the one arm embodiment. Slide the bar clamps (22) over the arms (20).

The detachable embodiments are very similar to the stationary model. The rotational arm (20) and bar clamps (22) are the same. The one and two arm models requires a small circular brace plate (24) and are attached similar to the two arm stationary model (see FIGS. 3A-3G). The felt pads are attached to the back of the small circular front brace plate (24) which is attached to the rotational arm(s) (20) by nails (64) and glue (66).

Two clamping bars are necessary to build the detachable model. Cut them both approximately 16″ long for this sized easel. Attach the rear brace plate (26) to the front of the front clamping bar (60) with glue (66) and nails (64). See FIGS. 3C and 3G. Bore (76) and drill (74) two more holes the size to snugly recess the head of the ¼″ hex bolt (47) into the front clamping bar (60) as shown in FIG. 3C. Drill ⅜″ holes in the center of the clamping bars (60, 62) for the hex bolt (46) to travel through. Then drill two ¼″ holes through the two clamping bars (62, 63) as shown in FIG. 3C. Attach the hardware, then clamp onto the easel with the legs (42) sandwiched between the front and rear clamping bars (60, 62). It's possible to adapt a one central bar easel (see FIGS. 7A & 7B) by drilling three holes into the central bar to attach the rotating assembly (20, 24, 26, 28, 60) with the central bar now sandwiched between the said clamping bars (60, 62). The two side hex bolts (47) are used to clamp the rotational device to the old easel. The center hex bolt (46) is used to pivotally attach the rotating arm (20) and support the rotatable function. Other easels whose legs or bars will accommodate this embodiment can also be modified with this detachable embodiment.

The clamp-on camera tripod models are identical to the detachable models FIGS. 3A & B up to the front clamping bar (60). Now instead, the circular rear brace plate (26) has an adapter attached with glue (66) and nails (64)) on its back side (see FIGS. 4C, 4D), or a modified factory camera mount. The assembly then just mounts on the camera tripod as the camera normally would. Tension is adjusted by compressing the felt pads (28) with the nylon lock nuts (56).

The sliding bar clamps (5A-5H) can be made with a simple design (5C,G) or with L-grips (52) to pull on the back of a canvas stretcher (FIGS. 5D, 5F, & 5H) by installing a smaller insert nut (49), a wing screw (68), and a bent flat iron L- grip (52) attached as shown (5F).

What distinguishes these embodiments over prior art is the simplicity of its design and use of readymade materials, especially the use of felt pads (28) as a cushion to provide slide-ability and tension producing function. The rotational arms and sliding bar assembly are also unique for the task assigned—in their simplicity and efficiency. None of the prior art I found are able to convert a standard easel or camera tripod into a rotatable easel as my embodiments do. The rotational arm (20), front plates (23, 24) and back plates (30, 26) sandwich the felt pads (28) in a unique, simple, and effective manner. Together with the hex bolt (46) and hardware (38, 46, 56) they provide a reliable rotational function enabling the easel to rotate 360 degrees in either direction. FIG. 6 illustrates how an article or canvas is held in place and rotates.

Conclusion, Ramification & Scope

The reader will see that the various embodiments of this rotating easel can be used by the operator to securely hold an article in place and to then rotate it 360 degrees in either direction on an easel stand. The stationary embodiment is the most simple and stable of these rotational devices. The detachable embodiment provides this rotational function with the added feature of being able to clamp on to stationary easel legs, or to modify an existing easel to accommodate this feature.

The clamp-on camera tripod embodiment allows the user to transform a camera tripod to then double as a rotating easel through the use of a camera tripod mount adapter.

The advantage of these embodiments over prior art is its simplicity in design and few moving parts, it is relatively inexpensive and easily manufactured, rotates a full 360 degrees in either direction, is light weight, sturdy, versatile, and provides the end user with an affordable, dependable, and easily repaired rotating easel.

The advantage of a rotational easel feature for a visual artist is that the canvas can now be easily rotated to view the composition. It allows for easy painting in once awkward positions by easily adjusting the canvas angle, it doesn't dirty the hands or the canvas by having to manually adjust the canvas while wet, and all the while not disrupting the painting process of the artist. Any presenter could also find use for this product if a rotational feature would be of benefit. Other uses for this rotating feature could also be found in games, and other uses.

Multiple embodiments have been discussed in this application that takes into account cost factors and additional capabilities such as using one or two rotational arms, and a sliding bar clamp with a lip brace and/or L-grips. Two rotational arms keep the article more secure but adds to the cost. L-grips allow for a canvas to be pulled up from the back so the artist can paint on all four edges of the canvas without interference from the bar clamps, but also adds to the cost.

Other additional features that could be added are a motor and a remote control to allow the rotating function to be controlled from a distance for a more ethereal experience by the artist or a presenter, or whomever can find a useful purpose for this embodiment; or a disabled artist forced to paint by mouth or foot, and needs to rotate the canvas.

These embodiments can be made for any size easel using the same basic design and approach, and in different materials.

Claims

1A. A rotational arm mounted with a pivoting device and secured to a plate, enabling said arm's free rotation of 360 degrees in either direction.

2B. and thereby modifies existing easels for said purpose.

3.